Joe Simon

No question Joe Simon is the most underrated southern soul singer. Why?
I think it’s because at first listen it all sounds so easy, so laid
back. Never an “in –your-face” screamer, he achieved his
emotional impact through a complete command of phrasing and dynamics, his
rich dark velvet baritone voice simply oozed class and the subtlety of his
approach worked on listeners like a slow flame. Simon had a beautiful dark
velvet baritone voice which floated effortlessly over and around a tune.
But if you pay close attention you’ll hear a master craftsman at work.
I don’t know any singer who repays repeat listening so handsomely.
Every time I play a Joe Simon track I hear subtle shades of emphasis, nuances
of timing, volume and diction that make the cut come up brand new.

There is no space here to go through his whole career but enough to demonstrate
why he deserved his great success in the business – over 30 years
he scored almost 50 hits in a wide variety of styles from near doo-wop to
disco. After early releases as a member of the Golden Tones, and as a solo
artist for Hush, Gee Bee and Irral he cut several fine tracks for Vee Jay.
My favourite is the Fame recorded ballad Let’s Do It Over which
was one of the first of his wonderful country soul ballads. The way he glides
through the verses and raises his game for the hook is a consummate object
lesson in how to sing a song.

His records for John Richbourg at Sound Stage
7 are a byword in excellence and should have a place in every soul fan's
collection. Quite apart from the big hits, try “Woman
Without Love” and “Silver
Spoons And Coffee Cups” as examples of the quality of this period
in Joe’s career but perhaps the best example is Straight
Down To Heaven. Barney Hoskins rightly identified this beautifully realised
waltz as one of the top 20 country soul performances.

I think it's possible to make two generalisations
about Simon's 70s work for Spring. The first is that the later the date of
the recording the higher the chances are that the quality will be poor -
and Joe will be lost in the disco excess. The second is that his best tracks
were produced by John Richbourg, who continued to use studios in Nashville
and Muscle Shoals, where the musicians were most sympathetic to the sound
tboth he and Joe were after.

Take the gorgeous "Georgia Blue" from "Simon Country" for example or the superbly
structured "Sweet Memories" from "Easy To Love". The most consistent set was
surely “Mood Heart And Soul”. Aside from such super tracks as “Walking
Down Lonely Street” and “I Would Still Be There” it contained
one stone five star killer ballad, I’m In The Mood For You.
The playing of the MSS crew is just phenomenal – Roger Hawkins subtle
touches, Barry Becket’s organ fills, Pete Carr’s beautifully judged
licks and the understated horns are just perfect. And Simon responds with such
a convincing vocal – stretching phrases and moaning gently. Perhaps the
most obvious tracks to mention outside these southern recordings were his Philly
ones - discs like “Drowning In The Sea Of Love” and “Pool
Of Bad Luck” are quality mainstream soul.

At the turn of the
80s Simon joined the Nashville Posse label, making a very welcome return
to country soul. Cuts like “Magnolia”,
the lively “Love Look At Us Now” and the delicate “Baby
When Love Is In Your Heart” are simply magnificent. But the pick is
the beautiful Glad
You Came My Way. This classic had a super
melody and Joe at his most introspective almost caresses the lyric. Such
dynamic range and control. This return to form continued as he signed
for Compleat in the mid-80s. “Morning Noon And Night” and “Let
Me Have My Way With You”, despite the lack of sweetening, are amongst
the best black music from that decade.

Simon’s last secular 45 found him back
with Richbourg cutting the fine Tony Joe White penned "Alone At Last"/ “Stay
Love” but
JR passed away and Simon lost heart. These days Bishop Joe Simon leads his
congregation in song, his glorious mellow voice still capable of sending
shivers down your spine. Long may he continue to do so.